FOOX: When Good Publicity Goes Awry

In Art, as in any other career, interpreting someone else's dreams and visions can prove tricky. One false move and the interpreter of those visions can put a slant on them that alters the entire concept or goal. And that's why good Art Directors, Curators, and Artists get paid the big bucks. Maintaining a strong visual theme or goal is crucial to a successful project.

Here is an example of Good Publicity turning bad. Vice Magazine, a bastion of foul-mouthed hipsters, somehow managed to turn our gentle art walk into a Revolution that even Che would be simultaneously proud and embarrassed.

Comments

[Sophia Burton]

Reading this article prompts the question: Where do you locate yourselves in relation to the conceptual framework of Art? (if indeed you chose to take a position) And how would you respond to the term 'outsider art'?

[David Foox]

Dear Sophia,

I must confess, I had to research a little bit before being able to respond.

According to Wikipedia here:

http://en.wikipedia.org/wiki/The_Conceptual_Framework

The Conceptual Framework is a linked set of agencies that assist in the critical analysis of art. They can be discussed as separate entities or linking to the Frames (cultural, structural, subjective, and postmodern).

Overview

The four agencies are enumerated as follows:

1. The Role of the Artist (Artist). The Who, What, How, and Why. Explore the artwork as the product of practitioners such as artists, artisans, craftspeople, architects and designers. The artist can be seen as an individual or as a group or movement.
2. The Roles and Values of the Audience (Audience). The concept of audience can be evaluated historically or critically. The audience may be art historians or critics, or other members of the public such as students, teachers, art buyers, etc. Artworks themselves are static, but the audience and their interpretation changes over time.
3. Artworks As Real Objects (Artwork). This concept encompasses art as two-, three-, and four-dimensional objects. This includes paintings, sculpture, architecture, design, performance art, as well as digital and virtual works. View artworks as representations of an artist's personal and cultural reflections, as well as the opportunity for symbolic interpretations and postmodern reinterpretations.
4. How Interests in the World Are Represented (World). How interests in the world are represented in art. Socio-political aspects such as class, power, ideologies, etc; experiences of the world, personal to the artist or experienced by the collective; interests of the art world — movements, styles, innovations, pressures, technology and more.

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Or to summarise:

Artist, Artwork, Audience, and World make up the 4 pillars of the conceptual framework.

Now that I got that easy stuff out of the way... WHEW! - I have to ask:

Is it for the artist to consider these 4 aspects and manipulate them to his/her goals OR is it for the world to classify the artist and the artist to create the artwork with the influences associated and surrounding (ie: world and audience).

I guess, what I am trying to say is, I dont want to limit myself by imposing world views upon my artwork that might be different from that taken away by the viewer. My goal has always been for my art to connect with the audience and reflect the current state of the world albeit with my skewed and ethnocentric worldview.

Sophia, your question rocked my world and I will have to think about this much more than is let on from this comment response.

I really appreciate you guiding me with your questions.

David Foox AKA Badger Almanac (with glasses and all).

[Sophia Burton]

Dear David,
Hmmm... you've posed an interesting question in response. Certainly all artists and artworks will ultimately be judged by the world in the congress of time. However I do think it is useful to think about the relationship between the artist and his/her community (the world) as a dialogue. And if we take the metaphor of dialogue a step further, we might posit the artists position within the four pillars as the opportunity to adopt various roles or platforms as and where it is useful. For instance artist as herald, artist as social conscience or even artist as midwife of collective consciousness.

Of course all of this comes off as dreadfully pretentious. I guess art theory is to art as a book about water is to river.

Kind Regards,
Sophia Burton
Nelson NZ

Sophia, I am sitting here in our hotel room with the sounds of Miami Beach all around and coming off a great buzz of art and overwhelming sensations here at Art Basel.

Remember it is my first time to be here and every direction has people passionate about creating and living life like only art lovers can. It is SUPER inspirational and educational at the same time.

Which makes your comments so much more exciting at this time!

I really enjoy you making me think!

I agree with you that art is like a river and flows naturally from artist to canvas to gallery to collector and then off into the sunset of time. I also agree with your thoughts on the role of the artist within this framework. Understanding your original comment has brought me to realise that although I see only my paintings as art and everything else as empowering that painting, perhaps by expanding my view on the creation of art, I can better understand just how much creativity can flow from a single being.

Now I have to ask you a question, if you were to analyze what we are up to over here - how would you classify the artwork, the activities? And what do you mean "artist as herald"? Like leader or light unto the dark corners? Or trendsetter? Commentator on society? What about complimenting society instead of critiquing it? (I think that there is much wrong in the world but also much right...)

David Foox

[Sophia Burton]

Dear David,
In response to the first part of your question I can only offer you my reading of events so scrupulously presented on the website. You must remember that I am observing from a long way away in a quiet corner of old town new zealand, hearing cicadas, birds, and the distant drone of a lawnmower.

However my reading of recent events... I would interpret the 'art of walk' as an invitation to heal and an opportunity for catharsis.

Artist as physician - with a healthy dose of furry or feathery wisdom to administer. Let me put it this way: if a band of artists walked down my street, gleesomely and joyeously waving paintings strapped onto sticks, I'd drop everything and follow them right out of the wilderness.

What the Kung Foox collective is doing, appears to me, to be so much more than trendsetting. Neither is it particularly related to protest. Rather a jubilant affirmation of life, and it looks like fun.

As for the second part of your question, and I'm leaning on the unabridged Websters 1966 edition here, a herald was one who proclaimed war and also peace. A herald more latterly describes a proclaimer, a publisher, a messenger. Or a herald could be a forerunner, a precursor or a habinger.

I guess my challenge to you David, as one painter to another, is to yes, act, look and paint intuitively but allow yourself opportunities for the analytical mind to be engaged also. We must all challenge the way that we think.

Kind Regards,
Sophia Burton

[David Foox]

Dear Sophia, your writing about your locale is intense and descriptive and very appealing in a lonely solitude filled kinda way - the cicadas, the lawnmower occassionally purring and sunny ol Nelson. I am a big fan of Nelson, NZ and like that people can walk around barefoot downtown no sweat.

Art of Walk turned into more things that originally anticipated - mainly because of all the "moving parts" (people involved).

I believe your comment about catharsis and healing is correct although I would use the terms "stepping out of our comfort zone" and "showing the people indifferent to art that there is something loveable about performance, art, and personality" - all of which seem to be so much more limited in today's world of neverending media bombardment.

Here's how I see it:

Me and Jess spend an inordinate amount of time "inworld" or deep inside the hearts of our mechanical computing devices (apple laptops, iphones, Secondlife, Warhammer Online, WoW, facebook, etc.)

The things we love about this "inworld" existence is the adventures and quests provided to participatory players in these games.

We cannot help but think that REAL LIFE (you know the flesh and blood and emotions and importance attached to details etc) should also have these adventures and quests.

Your desire to follow us in/out of the wilderness is exactly what we would like people to WANT.

I was once a robot, a mechanical human that sometimes had bad days, sometimes good days, but all of them GRAY days. If God has given us 100+ years (let's roundup the time we have here on earth) to achieve something - then I want everyday to be directed towards that eventuality, that goal.

For there is nothing more regretful than wasted time and space. (so your analysis that this existence is about living life, affirming life, is RIGHT ON!)

As for my artwork, I am growing, learning, and my direct desire is to learn and grow more both technically and poetically.

Your comments have been immensely helpful for me to understand the bigger picture (even if I have no idea what that bigger picture is) and your insightful comments are instrumental in my art - so I am appreciative of that.

Ok, better get back to posting some more Art Basel updates.

Have a great week Sophia.

FOOX

[Sophia Burton]

Hello to David, Jessica and the Kung Foox Collective,

Indeed Nelson is a jammy place to live; my main concerns at this time of year include keeping the birds out of my strawberry patch and not chocking when I'm out snorkelling. There is so much natural beauty and personal space available mostly because their arn't so many humans here. However the flip side of this isolation is the much vaunted 'tyranny of distance'- new zealand is often a sleepy place. Which is why I've so enjoyed seeing Art Basel through the lens of the Kung Foox Collective.

Thank you David for responding to my some what abstruse contributions. I don't often pose a question or leave a comment on the internet, however what you've been doing has been so interesting that I felt compelled to participate albeit in a small way.

How would the KFC react if there was an echo of 'Art of Walk' down here in the antipodes? I know a few artists who would do well to be coaxed out of there comfort zones. We could reference/ acknowledge the 'Art of Walk' quite clearly, or in some oblique and inverted way, depending on how the original walkers feel about a kiwi emulation in Christchurch or Wellington.

Warm regards,
Sophia Burton

[David Foox]

Sophia, sleepy ol Nelson Aotearoa. huh! Home of the star of Romper Stomper. Art Basel was madness - our lenses were rose colored so you got only the good stuff. Why focus on the not good? But I wish I could communicate the oppressive grimey humidity.

Also, while we typically shy away from being judgmental when it comes to art, we also have very particular tastes. Even with that said though, clawing our way from gallery booth to gallery booth was really fun - especiallywhen we were making a beeline for a specific quest or mission. It really was like Runescape or Warhammer online but for artists. And yes there were the requisite trolls and ogres but also the shining knights and damsels and ladies etc. Even ogres dressed as ladies!

Now as for ART OF WALK downunder in the South Island of New Zealand!

YES YES YES. But there are a few rules that we really feel strongly should be followed (if you dont mind):

1. no politics. no political stance.

This is not a protest. This is walking beauty. Walking aesthetics and a chance for us funny outnumbered artists to show the world why we obsess over color and lines. NO POLITICAL STANCE.

Nobody cares anyway if you love whales or hate Helen "the horseface" Clark. See what I mean? no politics. please.

2. the artwork needs to be framed. (I know Dasco didnt frame his, and to be honest it would have been better if it was framed).

The purpose of framing the artwork is exactly the same as when it is in your home or a museum. You frame it in order to better showcase the artwork inside. Since we are walking on the streets, a frame becomes all the more important. (And cheap gaudy frames can still do the trick).

3. ALL BLACK CLOTHING. (or ALL WHITE if you wanna be different).

The reason for this is that if you were looking at just the artwork on a wall, would you like the artwork to be messed with by a bunch of other colors that might not necessarily go with the painting? Plus it once again highlights the artwork and not the human walking around.

4. Animal mask - OPTIONAL - I say optional because as artists you probably have something just as cool or a different idea or maybe you wanna wear your regular faces. :)

5. Photographs! Take Heaps of Pics and send them to us and we will get them to Paper Mags for a second coverage and post them on the internet with the artist names and everyone who participates.

I guess that's it really. It will be really great.

Oh yeah, I think no more than 10 artists should participate otherwise you will need to get a parade license or riot. :)

FOOX

[David Foox]

6. all paintings should be attached to wooden sticks like broomsticks or yard sticks or 2x4's cause then you can carry the paintings above the crowd but also show them your art from above. like beaming down goodness.

[Sophia Burton]

Hello David,

I am really delighted that you are so receptive to the idea of an occasion styled on the 'Art of Walk' here in nz because the idea is quietly germinating at this end.

I do concur with your very reasonable stipulations and I want to maintain a strong visual reference to your event as a way of acknowledging the inspiration for the idea. We will probably wear white as a contrast to the nations favourite colour (black). Nelson has a very vibrant wearable arts scene, and the Nelson Festival opens with a big masked parade. So we will probably forgo the masks (lest they detract from the paintings) and come up with another solution.

I am a little uncertain as to the right location. I adore Wellington however I think that the hard road to anglophile Christchurch, the capital of pakeha new zealand and home to the Ilam school of art, would be more risky and challenging. I'm thinking next Autumn, however there is a long summer of camping, watersports, and painting on the verandah between now and then. May I email you with an update and some preliminary photographs in the new year? It occurs to me that our styles of painting are vastly different and you may want to see some photographs before offering to post things on the net.

Warm Regards to the Kung Foox Collective,
Sophia Burton